롱테이크와 정적 구도를 통해 본 야쿠티아 정체성 탐구 - 영화 ≪하얀배≫ (2024) 분석 -

초록

This paper provides an in-depth analysis of the 2024 Russian Yakutian film White Ship(Белый пароход), encompassing its two distinct parts: Part 1, ‘The Stranger(Прие зжий)’, and Part 2, ‘The Stone Queen(Кэлии Киһи)’. Based on a detailed shot analysis, this study examines the film’s aesthetic characteristics, its features as a Yakutian regional cinema within the broader Russian cinematic landscape, its main themes, and its significance and position in contemporary Russian cinema. Across both parts, the film actively utilizes long-take techniques and static compositions within a fixed camera and 4:3 aspect ratio to delicately capture the characters’ inner psychology and cultural conflicts. Notably, it effectively conveys its thematic consciousness through the stark contrast of light and shadow, the symbolic use of colors such as white, red, black, and blue, and the juxtaposition or confrontation of Yakutian traditional music with Russian and Western classical music. Director Inga Shepeleva states her intention to explore “the relationship between the two peoples coexisting in Yakutia, the identity of the Yakuts, their culture, mythology, and special connection with nature and the spirit world.” White Ship in the film is an “inverted symbol” representing “the subjective story of each person, regardless of their origin – the right to their own story and experience”. Part 1, ‘The Stranger’, centers on the conflict between a newly appointed Russian headmaster and a Yakutian music teacher, Marta, addressing the struggle to preserve Yakutia’s unique cultural identity and the challenges of communication. Part 2, ‘The Stone Queen’, transitions into a more folkloric and poetic narrative, featuring the same actors portraying different characters in a distinct spatiotemporal setting, exploring themes of love, loss, memory, fate, and spiritual communion with nature. The song ‘White Ship’ serves as a central, unifying motif throughout both parts, symbolizing oppressed Yakutian culture and hope, as well as the aspirations of individuals and the community. Through this, the film emphasizes cultural pluralism and the voice of ethnic minorities. White Ship, through its unique film aesthetics that weave together the realistic conflicts of Part 1 and the mythical narrative of Part 2, successfully combines Yakutia’s regional specificity with universal human themes.

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